Royal National Institute for the Blind Video
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2024-05-16
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Michael Brown Rosenfeld 1500 1719 1912 1949 2006 2008 2014 2018
This is a conversation between Shamika Klassen and host, Johannes Castner, about Shamika's original concept Techno Womanism, what influenced her to create the concept and many other related ideas, such as identity. Shamika's paper on Techno womanism can be downloaded here: (http•••) Here is her paper, with Dr. Xeturah Woodley: (http•••) In our discussion we referred to a number of people and books: (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••) (http•••)ign/PDF/speculative-everything.pdf (http•••) 00:00 Techno Womanism 00:00 theme song (written, performed and mixed by Neal Rosenfeld, sang by Jennifer Youngs) 00:35 welcoming message 00:47 introducing Shamika Klassen 02:04 introduction to Techno Womanism 02:30 what is Womanism 03:48 the three waves of Womanism 04:53 how Shamika came to create Techno-Womanism 08:02 Liberation Theology 10:06 theology and ethics 11:12 the tenets of Techno-Womanism 15:00 biases and the need for intersectionality 17:19 Foucault's critique of human categories as domination 19:12 is removing categories cultural erasure? 19:49 can AGI (Artificial General Intelligence) force us to rethink our identites as humans? 20:48 where does identity come from? 21:51 human identity after the white supremacist system falls 31:57 technological perpetuation of the white suprimacist system 32:59 biases and blind justice, the case of recidivism 41:47 technologists must understand whom they are building things for 43:58 what does scaling mean for diversity; is Techno Womanism a global concept? 45:03 the need to teach humanities alongside computer science 45:46 the Black Mirror Writer's Room exercise 46:33 Speculative Design 49:24 the ethical dimension of Speculative Design 52:18 Augmented Intelligence 55:19 who is and who will be in the driver's seat, AI, corporate leaders, or most of us? 58:33 user experience research to bring marginalized peoples into the process of building the future 59:44 how to keep up with Shamika's work 01:00:30 call to keep the conversation going 01:00:50 what's next on the show
Feodor Ivanovich Chaliapin Clarke Bourdon Dmitri Usatov Gounod Sergei Rachmaninoff Mussorgsky Boito Arturo Toscanini Sir Thomas Beecham Pabst Private Opera Bolshoi Theatre Scala Metropolitan Opera 1847 1872 1873 1894 1896 1899 1901 1907 1913 1914 1918 1921 1926 1927 1929 1931 1932 1933 1937 1938 1943 1984
Feodor Chaliapin sings - in English - 'The Blind Ploughman,' with orchestra conducted by Rosario Bourdon, recorded by Victor in the Church Building at Camden, New Jersey, on 18 March 1927. From Wikipedia: Feodor Ivanovich Chaliapin... February 13 [O.S. February 1] 1873 – April 12, 1938) was a Russian opera singer. Possessing a deep and expressive bass voice, he enjoyed an important international career at major opera houses and is often credited with establishing the tradition of naturalistic acting in his chosen art form... Feodor Chaliapin was born into a peasant family...His vocal teacher was Dmitri Usatov +••.••(...)). Chaliapin began his career at Tbilisi and at the Imperial Opera in Saint Petersburg in 1894. He was then invited to sing at the Mamontov Private Opera (1896–1899); he first appeared there as Mephistopheles in Gounod's Faust, in which role he achieved considerable success. At Mamontov Chaliapin met Sergei Rachmaninoff +••.••(...)), who was serving as an assistant conductor there and with whom he remained friends for life. Rachmaninoff taught him much about musicianship, including how to analyze a music score, and insisted that Chaliapin learn not only his own roles but also all the other roles in the operas in which he was scheduled to appear. With Rachmaninoff he learned the title role of Mussorgsky's Boris Godunov, which became his signature character. Chaliapin returned the favour by showing Rachmaninoff how he built each of his interpretations around a culminating moment or 'point.' Regardless of where that point was or at which dynamic within that piece, the performer had to know how to approach it with absolute calculation and precision; otherwise, the whole construction of the piece could crumble and the piece could become disjointed. Rachmaninoff put this approach to considerable use when he became a full-time concert-pianist after World War I. On the strength of his Mamontov appearances, the Bolshoi Theatre in Moscow engaged Chaliapin, and he appeared there regularly from 1899 until 1914. During the First World War of 1914-1918 Chaliapin also appeared regularly at the Zimin Private Opera in Moscow. In addition, from 1901, Chaliapin began touring in the West, making a sensational debut at La Scala that year as the devil in a production of Boito's Mefistofele, under the baton of one of the 20th century's most dynamic opera conductors, Arturo Toscanini. At the end of his career, Toscanini observed that the Russian bass was the greatest operatic talent with whom he had ever worked. The singer's Metropolitan Opera debut in the 1907 season was disappointing due to the unprecedented frankness of his stage acting; but he returned to the Met in 1921 and sang there with immense success for eight seasons, New York's audiences having grown more broad-minded since 1907. In 1913 Chaliapin was introduced to London and Paris by the brilliant entrepreneur Sergei Diaghilev +••.••(...)), at which point he began giving well-received solo recitals in which he sang traditional Russian folk-songs as well as more serious fare... Chaliapin toured Australia in 1926, giving a series of recitals which were highly acclaimed...[He remained] perpetually outside Russia after 1921. He still maintained, however, that he was not anti-Soviet. Chaliapin initially moved to Finland and later lived in France. Cosmopolitan Paris, with its significant Russian émigré population, became his base, and ultimately, the city of his death. He was renowned for his larger-than-life carousing during this period, but he never sacrificed his dedication to his art. Chaliapin's attachment to Paris did not prevent him from pursuing an international operatic and concert career in England, the United States, and further afield. In May 1931 he appeared in the Russian Season directed by Sir Thomas Beecham at London's Lyceum Theatre. His most famous part was the title role of Boris Godunov (excerpts of which he recorded 1929–31 and earlier)... Largely owing to his advocacy, Russian operas...became well known in the West. Chaliapin made one sound film for the director G. W. Pabst, the 1933 Don Quixote. The film was made in three different versions – French, English, and German, as was sometimes the prevailing custom. Chaliapin starred in all three versions, each of which used the same script, sets, and costumes, but different supporting casts... In 1932, Chaliapin published a memoir, Man and Mask: Forty Years in the Life of a Singer... Chaliapin's last stage performance took place at the Monte Carlo Opera in 1937, as Boris. He died the following year of leukaemia, aged 65, in Paris, where he was interred. In 1984, his remains were transferred from Paris to Moscow in an elaborate ceremony. They were re-buried in the Novodevichy Cemetery... I transferred this side from an Australian laminated pressing of HMV DA 993.
Turn CC subtitles on! 【Reality Check】Senior television director HA YAT CHEUNG (Ruco Chan) is preparing to shoot an all new reality TV show, documenting HK youth CHEUNG CHUN KIT's (Hero Yuen) experience of going from city life back to village life in Mainland. Because the lack of staff at the TV station, CHEUNG hired HUI MEI FUNG (Priscilla Wong) to be the assistant director and asked good friend LEUNG CHUN SHUN (Evergreen Mak) to help with the filming. During the filming process, the crew witnessed how the HK youth master representative overcomes cultural differences in the village and changes in his personal character. The blind spots in their lives slowly unfolds as the reality show goes on. Just like the subjective and stubborn CHEUNG re-examined the love and hate between his adopted mother LAU CHUI WAN (Louise Lee) and biological mother HA SIU LAN (Rebecca Chan). The hardworking and good faith MEI FUN works nonstop just because of her dignity and to recover her lost paternal love. The 'big man' CHUN SHUN and his family went through mass destruction… how will this clever director bring everyone out of their distressed lives? Reality Check|From 21st April|Monday to Sunday / ️ Don't want to miss out any episodes? Subscribe and turn on the notification bell to TVB Pearl English channel (http•••) ️ [鐵咀銀牙 Word Twisters' Adventures(粵語英字)] playlist:(http•••) ️ [鳳凰四重奏 Maidens' Vow (粵語英字)] playlist:(http•••) ️ [The Master of Tai Chi 太極 (粵語英字)] playlist:(http•••) ️ [A Fist Within Four Walls 城寨英雄 [粵語英字]] playlist:(http•••) ️ [Beyond The Realm Of Conscience 宮心計 [粵語英字]] playlist:(http•••) ️ [A Fist Within Four Walls 城寨英雄 [粵語英字]] playlist:(http•••) ️ [Triumph In The Skies 衝上雲霄 [粵語英字]] playlist:(http•••) ️ [The Greed Of Man 大時代 [粵語英字]] playlist:(http•••) ️ [The Bund(I) 上海灘] playlist:(http•••) ️ [Rosy Business 巾幗梟雄] playlist:(http•••) ️ [Always And Ever 情逆三世緣] playlist: (http•••) ️ [To Unstuck In Time 隔世追兇] playlist: (http•••) ️ [The Condor Heroes 神鵰俠侶] playlist: (http•••) ️ [War and Beauty 金枝慾孽] playlist: (http•••) ️ [Forensic Heroes 法證先鋒] playlist: (http•••) ️ [The Unholy Alliance 同盟] playlist: (http•••) ️ [HEAVEN SWORD & DRAGON SABRE 倚天屠龍記] playlist: (http•••) ️ [A Fistful Of Stances 鐵馬尋橋] playlist: (http•••) ️ [Journey To The West 西遊記] playlist: (http•••) ️ [Legend Of The Demigods 搜神傳] playlist: (http•••) / Keep up to date with TVB latest drama ‧ Download TVBAnywhere+ app from App Store and Google Play to begin your wonderful drama journey. App Store: (http•••) Play Store: (http•••)
Johann Strauss Theresa Grabner Capelle Tchaikovsky Alessandri Hirschmann Vincent Schirrmacher Falke Seifert 2012
Theresa Grabner (Adele), Elisabeth Flecht (Rosalinde): Duet "Ach ich darf nicht hin zu Dir". Johann Strauss Die Fledermaus The Bat Johann Strauss Capelle Wien Vienna Cond. Rainer Roos Tchaikovsky Conservatory Great Hall 2012 Johann Strauss Capelle Wien. Conductor: Rainer Roos. Reinhard Alessandri: Gabriel von Eisenstein, Elisabeth Flechl: Rosalinde, Tijl Faveytes: Frank, Martha Hirschmann: Prince Orlofsky, Vincent Schirrmacher: Alfred, Marian Olszewski: Dr. Blind, Thomas Zisterer: Dr. Falke, Theresa Grabner: Adele; Members of Choir of the Volksopera Vienna: Guests of prince; Michael Dangl: Frosch. Semi-staged performance. Directed by Reinhard C. Seifert. Moscow, Tchaikovsky Conservatory Great Hall 2012. www.strausscapelle.at
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